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with  a 

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NATOMA 


UNIV.  OF  CAUF.  UBRARY  LOS  MGEUF.l 


ALL     RIGHTS     OF      REPRODUCTION,      TRANSLATION      AND 

REPRESENTATION   RESERVED    FOR    ALL     COUNTRIES 

INCLUDING  NORWAY,  SWEDEN  AND  DENMARK 

Copyright,   1911,   by  G.  Schirmer 


^'Jsic  libmf 


CHARACTERS 

WITH  THE   CAST   FOR   THE   FIRST   PERFORMANCE  OF  THE   OPERA  AT   THE  METROPOLITAN   OPERA 

HOUSE,  PHILADELPHIA,  ON  FEB.    23,  1911. 


braves,  comrades  of  Castro 


Don    Francisco    de    la    Guerra,    a    noble 
Spaniard  of  the  old  regime 

Father    Peralta,     Padre    of    the    Mission 
Church 

Juan  Bautista  Alvarado,  a  young  Spaniard 

Jose  Castro,  a  half-breed 

Pico 

Kagama 

Bruzzo,  an  innkeeper 

Paul  ]\Ierrill,  Lieutenant  on  the  U.  S.  Brig 
"Liberty" 

Barbara  de  la  Guerra,  daughter  of  Don 
Francisco 

Natoma,  an  Indian  girl 

Chiquita,  a  dancing-girl 


Bass 


Mr,  Huberdeau 


Bass 

]\lr. 

Dufranne 

Baritone 

Mr. 

Sammarco 

Baritone 

Mr. 

Preisch 

Tenor 

Mr. 

Crabbe 

Bass 

Mr. 

Nicolay 

Tenor 

Soprano 
Soprano 


Mr.  MacCormack 

Miss  Lillian  Grenville 
Miss  Mary  Garden 


Two  American  Officers ;  Sergeant ;  Alcalde ;  Milk-Boy ;  ladies,  dignitaries,  soldiers,  friars, 
S^  acolytes,  nuns,  convent-girls,  vaqueros,   market-women,  Spanish  dancers, 

j  reapers,  vineyardists,  shepherdesses,  sailors 

^  The  scene  of  Act  I  is  laid  on  the  Island  of  Santa  Cruz,  off  the  coast  of  California, 

two  hours'  sail  from  the  mainland ;  Act  II,  in  the  plaza  of  the  town  of  Santa  Barbara 
on  the  mainland,  in  front  of  the  INIission  Church ;  Act  III,  inside  of  the  Mission  Church. 

Epoch,  1820,  under  the  Spanish  regime. 


[5] 


FOREWORD 

Vizcaino,  the  navigator,  in  a  letter  to  the 
King  of  Spain  written  in  1603,  remarked  on 
the  comehness  and  unusual  intelligence  of  the 
Californian  Indian  girls.  There  was  with- 
out doubt  among  some  of  these  inhabitants 
a  strain  of  the  ancient  Aztec  race. 

The  literal  translation  of  Natoma  is  "The 
Maid  from  the  Mountains." 


[7] 


NATOMA 

An  Opera  in  Three  Acts 


ACT  I 

The  scene  shows  the  hacienda  of  Don  Fran- 
cisco on  the  Island.  Porch  left,  with 
entrance  showing  interior  with  windows. 
Semi-tropic  treatment,  out  of  doors. 
Bach  drop  shows  blue  waters  of  the 
Santa  Barbara  Channel,  with  dim  line 
of  mainland  in  distance.  An  arbor  and 
vine-covered  well  are  right,  with  stone 
bench  around  part  of  well.  Main  en- 
trance shows  pathway  centre.  The 
scene  is  rich  in  coloring — a  woodland 
dell.  At  rise  of  curtain  Don  Fran- 
cisco is  discovered  at  top  of  hill,  gaz- 
ing over  the  water  toward  the  mainland. 

Time,  afternoon  and  evening  of  a  summer^s 
day. 

SCENE  I 

Don  Francisco 

Alas !  Impatient  father  that  I  am ! 
No  sign  as  yet  from  o'er  the  water 
To  tell  the  coming  of  my  daughter. 
The  day  with  leaden  feet  is  creeping, 
While  my  impatient  heart  is  leaping. 

Oh  child  of  love,  oh  child  of  grace, 
I  see  in  thee  thy  mother's  face. 
And  like  a  perfume  rare. 
Her  gentle  spirit  fills  the  air, 
]My  Barbara,  my  Barbara ! 
(Seats  himself  on  bench  near  the  well.) 

When  as  a  youth  I  led  my  bride 
O'er  mountain-chain  and  oceantide, 
We  dreamed  a  while  to  here  remain. 
Afar  from  our  beloved  Spain. 

We  wandered  o'er  this  island  bower, 
And  found  herein  a  perfect  flower; 
It  was  a  message  from  above, 
To  bless  the  union  of  our  love. 


The  flower  she  gave  to  me — my  bride ; 
A  winsome  rose,  our  joy,  our  pride. 
[Entwined  within  our  hearts  it  grew 
As  fleeting  years  above  us  flew. 

The  Reaper  claimed  my  bride  his  own, 
And  left  me  with  my  rose  alone. 
This  sunset  isle  I  hold  a  shrine 
Wherein  to  guard  my  trust  divine.] 

Oh  child  of  love,  oh  child  of  grace, 
I  see  in  thee  thy  mother's  face. 
And  like  a  perfume  rare. 
Her  gentle  spirit  fills  the  air. 
My  Barbara,  my  Barbara ! 

(Horn  heard  off  stage.) 

Alvarado,  Castro,  Pico  and  Kagama  {off 
stage).     Aie!  aie! 

Don  Francisco.     Can  it  be  my  daughter.? 
{Enter    Alvarado,    Castro,    Pico    and 
Kagama.  ) 

Alvarado.     Hail,  Don  Francisco,  hail ! 

D.  Francisco.  Welcome,  Juan  Bautista, 
and  also  your  good  friends  !  Our  island  home 
is  greatly  honored  by  your  coming. 

Alvarado  {coming  forward).  My  friend 
and  comrade,  Don  Jose  Castro ! 

D.  Francisco.  Welcome,  Senor !  your 
name  is  known  to  me. 

Castro.     Don  Francisco,  I  salute  thee ! 

Alvarado.  Pico  and  Kagama  of  Santa 
Inez,  both  mighty  hunters  and  brave  fellows ! 

D.  Francisco.  Caballeros,  I  greet  you. 
So  seldom  do  I  leave  this  isle  in  my  advancing 
years,  you  must  regard  me  quite  a  stranger 
in  the  land. 

All.     At  your  service,  Seiior! 

(Alvarado  and  companions  take  seats.) 

D.  Francisco  {claps  hands;  two  servants 
appear  on  porch).  Tortillas!  Mescal!  My 
guests  will  drink  with  me. 

{Servants   bow   and   exeunt    into    haci- 
enda.) 


[9] 


10 


NATO  MA 


Alvarado.  We  beg  the  privilege  of  a 
hunt  upon  the  ranges  of  your  hills,  where 
bound  the  antlered  stag  and  vicious  boar. 

D.  Francisco.     My  isle  is  yours. 

(Servants  bring  out  synall   tables,  etc.) 

D.  Francisco.  Senores,  my  house  is  hon- 
ored by  your  presence!  {Lifts  flagon;  all 
drink. ) 

Alvarado.  And  Barbara,  my  fair  cousin, 
I  fain  would  greet  her  and  present  my  com- 
rades. 

D.  Francisco.  I  would  she  were  here  to 
greet  thee. 

Castro  (aside).     She  has  not  come. 

D.  Francisco.  This  is  the  day  of  her  re- 
turn. Her  convent  years  are  ended.  Since 
early  morn  I've  peered  out  o'er  the  water  to 
find  in  every  sail  and  white-winged  gull  the 
coming  of  my  daughter.  [Yet  know  I  well, 
'twill  be  at  eventide  and  when  the  summer's 
day  has  waned,  Father  Peralta  will  bring  my 
daughter  home.] 

Alvarado 

I  offer  a  toast,  good  friends, 
And  bid  3'ou  homage  pay 

To  one  whose  beauty  lends 
New  lustre  to  the  day: 
Barbara  de  la  Guerra ! 

Alvarado,  Castro,  Pico  and  Kagama. 
Barbara  de  la  Guerra ! 

D.  Francisco.  You  fill  my  heart  to  over- 
flowing. 

Alvarado.  Come,  we  must  away.  The 
shadows  deepen  early  in  the  mountains.  Our 
sport  awaits  us. 

D.  Francisco.  Good  luck  attend  you !  I 
beg  on  your  return  to  come  this  way.  My 
house,  my  cellar,  my  boats,  are  at  your  com- 
mand ! 

The  Four.  Adios,  Senor !  Adios,  Seilor ! 
(Exeunt.  Exit  Don  Francisco  into 
hacienda.) 

SCENE  TI 

(Natoma  comes  up  over  hill,  leading 
Paul  by  the  hand.  She  pulls  him 
toward  her  and  stamps  her  foot. 
Both  are  playful  and  laughing.) 


Natoma.  When  I  say  to  you  "follow," 
you  must  obey  me ! 

Paul.  You  little  witch!  Where  are  you 
leading  me?     This  is  all  so  strange  to  me. 

Natoma.  No  matter.  This  is  an  island  of 
good  cheer.  We  are  alone,  for  at  this  hour 
good  Don  Francisco  takes  his  siesta.  Come! 
come ! 

(Leads  Paul  to  seat  around  well.  Paul 
seats  himself  on  bench;  Natoma  sits 
on  the  grass  in  front  of  him.) 

Paul.  Ali !  Natoma,  this  island  hath  in- 
deed a  charm !  Oh !  Natoma,  'tis  you  who 
casts  a  spell  o'er  all  my  senses. 

Natoma.  No  one  has  ever  spoken  unto 
me  as  you  do.  Your  voice  is  soft  and  gentle. 
Are  all  Americanos  fair  and  good  to  look 
upon  ? 

Paul.     You  little  wild-flower ! 

Natoma.  Tell  me  about  your  people  and 
the  great  land  far  o'er  the  water.  Speak,  and 
speak  again,  until  I  bid  you  cease — and  that 
will  never  be. 

Paul 

Gentle  maiden,  tell  me, 

Have  I  seen  thee  in  my  dreams — 

I  wonder.'' 
When  above  my  pillow 
All  the  night  sheds  starry  gleams — 

I  wonder.'' 

Ever  am  I  haunted 

By  a  pair  of  eyes  so  deep 

And  gleaming. 
In  whose  wealth  unfathomed 
Lie  the  shafts  of  love  asleep 

And  dreaming. 

Every  glance  she  gave  me 

Woke  my  heart  and  roused  my  soul 

From  slumber. 
Gentle  maiden,  tell  me. 
Have  I  seen  thee  in  my  dreams — 

I  wonder? 

Come,  Natoma !  [We  have  rowed  and  wan- 
dered round  this  island  from  mom  till  even- 
tide. Every  question  you  have  asked  me  I 
have  freely  answered.     Yet  you  tell  me  noth- 


N ATOM A 


11 


ing  of  yourself.]  Tell  me  of  your  people, 
tell  me  of  Natoma,  and  see!  (taking  the 
abalone-amulet ,  zchich  is  hanging  from  the 
necklace  around  Natoma's  neck,  in  his  hand.) 
What  is  the  secret  of  this  charm  you  guard  so 
closel}'  ? 

Natoma    (crossing    her    hands    against    her 
throat  and  shrinking  from  Paul). 

Would  you  ask  me  of  my  people, 

Of  my  father  and  his  father  .f* 

Then  I  bid  you  now  to  listen. 

From  the  clouds  came  my  first  father; 
Out  he  stepped  upon  the  mountain 
Over  there  upon  the  mainland, 
In  the  early  dawn  of  morning, 
And  his  people  followed  after. 
Soon  there  came  an  awful  famine, 
And  his  people  paled  with  hunger. 
Paled  with  hunger  and  the  famine. 
Then  he  went  down  to  the  ocean 
Where  the  waters  roll  unceasing. 
And  he  prayed  unto  the  Spirit, 
To  the  Spirit  of  the  mountain, 
To  the  Spirit  of  the  waters. 
And  lo,  his  prayer  was  answered. 
At  his  feet,  in  untold  numbers. 
Tossed  up  by  the  mighty  ocean. 
Found  he  there  the  abalone. 
Rich  with  meat  the  abalone. 
With  this  meat  he  fed  his  people, 
Brought  to  life  his  starving  people. 
And  with  prayer  they  thanked  the  Spirit. 

[In  the  twilight  of  his  lifetime. 

On  his  couch  within  the  wigwam, 

Called  the  Chief  his  sons  about  him, 

Spoke  he  to  the  eldest  thus-wise : 

*'I  have  been  upon  the  mountain. 

With  the  Spirit  in  communion ; 

There  the  mighty  Spirit  gave  me 

As  a  token,  with  his  blessing. 

This  fair  shell  of  abalone, 

Filled  with  earth  from  off  the  mountain 

Sealed  within  the  abalone. 

Bade  me  guard  it  in  my  bosom 

As  a  deed  of  gift  and  plenty 

From  the  Spirit  to  his  people. 

Thou  the  strongest,  thou  the  eldest 


Shalt  succeed  to  my  dominion. 
On  thy  neck  I  hang  the  token." 
He  then  turned  his  back  upon  them 
And  his  son  became  the  Chieftain, 

In  the  ages  past  this  happened, 
But  the  gift  has  come  unbroken 
From  one  Chieftain  to  the  other. 
From  the  father  to  the  eldest. 
From  the  mountain  to  the  ocean 
Has  the  gift  come  down  unbroken.] 

In  the  old  age  of  my  father 
All  my  brothers  had  departed. 
Lost  in  battle  with  the  stranger. 
Then  my  father  called  me  to  him. 
And  he  said  to  me,  "Natoma, 
Thou  the  strongest,  thou  the  eldest, 
Shalt  succeed  to  my  dominion. 
On  thy  neck  I  hang  the  token. 
Guard  the  token  in  thy  bosom 
As  a  deed  of  gift  and  plenty 
From  the  Spirit  to  his  people." 

Paul.  I  salute  thee,  Natoma,  Princess, 
Queen  and  Ruler  of  this  fair  and  radiant 
country ! 

Natoma. 

Vanished  are  my  father's  people. 
Now  the  stranger  comes  as  chieftain. 

Paul  (pointing  to  hacienda).  And  there 
is  where  lives  Barbara,  the  beautiful  Barbara? 
Tell  me,  Natoma,  is  she  so  very  beautiful.'* 

Natoma.  Barbara,  my  Barbara !  She  is 
more  beautiful  than  the  fawn  in  springtime ! 
She  is  more  lovely  than  the  poppies  on  the 
hillside !  jMy  Barbara  !  Her  eyes  are  like  the 
stars  in  blue  water.  Her  lips  are  red  berries 
in  the  dew.  When  you  see  her  you  must  love 
her.  Oh,  Paul !  When  you  see  her  you  xcill 
love  her ! 

It  had  to  be!  It  had  to  be!  Oh,  Paul! 
Take  me,  beat  me,  kill  me,  but  let  me  be  your 
slave!    (Falls  at  Favi.'s  feet.) 

Paul  (kneeling  to  her,  and  taking  her 
hands  in  his).  You  little  wild-flower,  Na- 
toma! 


12 


NATOAIA 


SCENE  III 


(Natoma  lifts  her  head,  listens,  springs 
to  her  feet;  her  whole  demeanor 
changes;  she  runs  to  top  of  hill.) 


Convent-Girls    (off   stage), 
ohe !  ohe ! 

Natoma.     Barbara ! 


Ohe!   ohe! 


Convent-Girls  {off  stage) 

Afloat,  afloat  in  our  open  boat, 

We  swing  on  the  evening  tide ; 
[Afar,  afar  on  the  sandy  bar,] 

The  low  waves  gently  glide. 
We   come,   we  come. 

Fair  isle  of  the  Sunset  sea, 
To  bring  her  home, 

Sweet  Barbara,  home  to  thee. 
(Servants    and   retainers    come   out    of 
hacienda. ) 

Chorus  of  Retainers 

Our  gentle  mistress  comes  at  last, 

So  lift  your  voices  high ; 
Her  dreary  convent  days  are  past. 

And  turned  to  revelry. 
All  hail,  all  hail  to  the  gallant  sail 
That  brings  our  j  03^,  our  pride ! 

Convent-Girls  (entering  at  back) 

We  swing  on  the  evening  tide. 

Ohe !  ohe !  ohe ! 
The  low  waves  gently  glide, 

Ohe !  ohe  !  ohe ! 
Afloat,  afloat  in  our  open  boat, 
We  swing  on  the  evening  tide. 
(Father     Peralta     appears,     leading 

Barbara  by  the  hand. ) 

Full  Chorus 

She  comes  !  she  comes ! 
With  loud  acclaim,  we  cheer  her  name, 

And  Barbara  welcome  home. 
We  cheer  her  name  with  loud  acclaim ! 
All  praise  to  thee,  our  Holy  Church ; 

We  thank  thee  for  thy  grace 
And  for  thy  many  blessings !    Praise  to  thee ! 

Barbara.    Natoma ! 


Natoma.     Barbara,  my  Barbara ! 

D.  Francisco  (coming  out  of  hacienda). 
My  daughter!  (folds  her  in  his  arms). 

Barbara.  Father,  dear  Father!  (They 
embrace. ) 

D.  Francisco  (turning  to  Peralta).  To 
3'ou,  illustrious  Padre,  my  house,  and  all  who 
with  me  abide,  are  indebted. 

Peralta.  The  debt  is  ours,  Don  Fran- 
cisco !  In  the  beauty  of  her  character  your 
daughter  has  been  an  inspiration  to  all  around 
her.  She  proclaims  with  pride  and  yet  with 
modesty  the  nobility  of  both  your  houses. 


(During  this  scene  Paul  has  been  stand- 
ing apart,  gazing  at  Barbara.  Their 
eyes  have  met.  Natoma  watches 
them.  Barbara  drops  her  eyes  and 
then  looks  at  Paul  again.  Paul's 
eyes  do  not  leave  Barbara.  Castro 
is  seen  by  the  audience  secreted  in  the 
arbor. ) 

D.  Francisco.  Good  friends,  I  bid  you  all 
to  enter  and  drink  with  me  to  this  glad  re- 
union. But  stay!  (seeing  Paul)  we  are  hon- 
ored by  the  presence  of  a  stranger. 

Natoma.  This  is  Senor  Paul,  from  the 
big  ship  that  came  from  o'er  the  waters. 

Paul.  I  am  Lieutenant  Paul  Merrill  of 
the  Brig  "Liberty,"  from  the  United  States. 
May  I  do  homage  to  your  beautiful  daugh- 
ter?   (bowing  low.) 

D.  Francisco.  Come,  Father  Peralta,  and 
you,  Senor,  and  good  friends  all,  complete  my 
joy  by  drinking  round  my  board  from  a  cask 
of  Spanish  wine.     Come  within  ! 

Ensemble 

While  shadows  darken  around 
We  bid  thee  welcome  home ; 
Where  happiness  and  peace  shall  be  found. 

Hallowed  the  ground. 
No  more  shall  thy  footsteps  bid  thee  to  roam. 
We  welcome  thee  home,  welcome  home ! 

(Exeunt  all  except  Natoma;  Castro 
still  in  arbor.) 


NATOMA 


13 


SCENE  IV 

Natoma  {alone) 

Oh  the  wonder  of  his  speaking, 
Like  the  wind  upon  the  mountain, 
Like  the  river  through  the  valley  ! 
Speak  to  me  again,  my  chieftain ! 
(Castro  aj) pears  suddenly  and  confronts 
her.) 

Castro.  Can  I  believe  my  eyes?  You,  the 
idol  of  our  people,  the  daughter  of  your 
mighty  father,  to  fetch  and  carry  for  these 
dogs ! 

Natoma.     Castro,  what  do  you  mean.'* 

Castro.  Hear  me !  The  Evil  One  has  cast 
a  spell  over  Natoma,  or  she  would  not  leave 
her  father's  people  to  spend  her  days  with 
strangers.  Listen  to  me !  Listen  to  me !  Your 
people  left  the  valley  in  disdain,  but  in  the 
crags  of  the  mountains  they  pray  for  a 
chieftain  !  Ah  !  Natoma.  Behold  me !  They 
call  me  Jose  Castro.  It  is  not  my  name.  I 
am  Tu-ol-um-ne,  he  who  leaves  no  trail.  Your 
people  are  my  people!  Come  with  me!  {at- 
tempting to  take  her  hand.)  Together  we 
will  sweep  the  land  of  these  strangers,  as  the 
winter  tempest  shakes  the  leaves  from  the 
trees ! 

Natoma.  Don't  touch  me !  You  are  no 
Indian ! 

Castro.  Softly  !  softly  !  I  would  not  make 
you  angry ;  and  yet,  methinks,  if  that  young 
Lieutenant  from  the  big  ship  asked  you  to 
his  wigwam,  you  would  not  say  him  nay.  Ah, 
ha  !  ha  !  ha ! 

Natoma.     You  half-breed ! 

{As  she  goes  off,  Castro  calls  out  to  her, 
but  under  his  breath.) 

Castro.  It  is  not  you  he  will  ask  to  his 
wigwam.  It  is  Barbara.  I  know  it.  I  saw 
the  glances  pass  between  them.  I  know  it, 
even  if  I  am  a  half-breed. 

{Enter  Alvarado,   Pico   and   Kagama. 
Txcilight  commences  to  fall.) 

Castro.     She  has  come. 

Alvarado.     What,  Barbara? 

Castro.  The  Padre  brought  her  with  the 
convent-girls ;  they   are  all  inside,  and   with 


them  that  young  officer.  Barbara  has  eyes 
for  no  one  but  him ;  she  is  entranced. 

Alvarado.     You  are  demented! 

Castro.     It  is  true! 

Alvarado.  Nonsense!  Wait  until  I  see 
her !    Here,  Kagama,  Pico,  our  serenade  I 

SERENADE 

Alvarado 

When  the  sunlight  dies, 

When  the  night  wind  sighs. 
When  the  dove  is  asleep  in  the  tree, 

I  will  come,  my  love, 

With  the  stars  above, 
To  pay  homage,  fair  cousin,  to  thee. 

Where  thy  feet  have  pressed, 

Are  the  poppies  blessed. 
And  the  violets  yield  their  perfume ; 

'Tis  the  blushing  rose, 

Everywhere  it  blows. 
From  thy  beauty  has  stolen  its  bloom. 

Oh,  my  lady-love,  oh,  my  lady-love, 
Leave  me  not  in  the  dusk  to  repine ; 

Oh,  my  lady-love,  oh,  my  lady-love, 
Bid  me  sing  to  thy  beauty  divine! 

SCENE  V 

(Barbara  appears  in  doorway  of  porch.) 

Barbara.     Juan  Bautista ! 

Alvarado.  Fairest  cousin !  Stand  where 
thou  art,  and  put  to  shame  the  jewels  of  the 
night,  that  now  begin  to  deck  the  heavens. 

Oh,  my  lad3'-love,  oh,  my  lady-love, 
Leave  me  not  in  the  dusk  to  repine ; 

Oh,  my  lady-love,  oh,  my  lady-love. 
Bid  me  sing  to  thy  beauty  divine ! 

Barbara.  I  do  recall  that  song  under  my 
convent  window. 

Alvarado.  'Twas  I  who  sang  it  to  thee 
from  behind  the  manzanita  bush.  Ah  !  beaute- 
ous Barbara,  how  sweet  of  you  to  remember! 

Barbara.  Fie  upon  you,  Juan !  You  sang 
that  same  song  to  Chiquita — or  was  it  Tere- 
sita.'' — and  you  swore  it  was  written  for  her 
and  her  alone. 


14 


NATOMA 


Alvarado.     Nay,  nay  '•  to  thee  alone ! 
Barbara.     A  little  bird  flew  into  the  con- 
vent window  with  the  message ;  you  know  lit- 
tle birds  can  sometimes  fly  even  over  convent 
walls. 

Alvarado.  'Tis  calumny!  Listen  to  me, 
I  implore ! 

{Drinking-chorus    heard    faintly    from 
hacienda.) 

Chorus 

To  him  who  drinks  the  wine  of  Spain, 
All  other  joys  in  life  are  vain. 
And  Bacchus  laughs  to  see  us  quaff 
The  good  old  wine  of  Spain. 
Tra  la  la,  la  la  la  ! 

Barbara  (looking  over  the  scene).  Oh, 
wondrous  day,  that  brings  me  home  once 
more 

Alvarado  {interrupting).  Hear  me,  Bar- 
bara !  You're  no  longer  a  girl,  but  a  woman. 
How  impatiently  have  I  waited  to  greet  you 
as  such,  for  you  and  I  together  bear  the  names 
that  claim  distinction  throughout  the  land. 

Chorus 

And  Bacchus  laughs  to  see  us  quaff'. 
The  good  old  wine  of  Spain. 

Alvarado.  To-morrow's  your  Fiesta  over 
there  on  the  mainland,  when  all  the  world  will 
pay  their  tribute  to  the  rich  and  beautiful 
Barbara  de  la  Guerra !  But  to-night,  before 
this  new  world  is  all  hers,  Juan  Bautista,  her 
cousin,  tenders  his  devotion,  homage  and  love. 

Barbara.  'Tis  very  sweet  of  you,  Juan 
Bautista ! 

Alvarado.  My  life  is  yours,  my  love  is 
yours,  I  have  but  one  ambition :  to  protect 
you,  to  shield  you  from  the  world.  Grant  me 
the  privilege,  grant  me  the  right ! 

Barbara.  I'm  sure  of  your  devotion  and 
protection,  Juan  ! 

Alvarado.  Yes,  3'es !  Place  your  hand  in 
mine,  and  let  me  announce  to-morrow  to  our 
expectant  friends,  that  the  Church  shall  pro- 
nounce the  union  of  our  two  great  names ! 


Barbara.  What,  Juan  Bautista !  you  are 
making  me  a  proposal  of  marriage  ? 

Chorus 

Tra  la  la  la !    Tra  la  la  la ! 

Alvarado.  I  am,  sweet  Barbara,  with 
every  drop  of  my  heart's  blood,  my  life!  my 
love  !  my  soul ! 

Fair  one,  listen  to  my  vow  of  love, 

A  vow  that  from  my  very  soul  is  spoken! 
Fair  one.  Paradise  and  heaven  above 

I'd  give  to  ravish  from  thy  lips  one  token. 

Barbara !   To  hold  thee  in  my  arms  I'm  yearn- 
ing. 
Fair  one,  gaze  within  my  eyes 
To  see  the  fire  that  still  alone  for  thee  is  burn- 
ing ! 
Fair  one,  I  pray,  give  me  thy  reply. 
On  thy  answer  will  I  live  or  die ! 
Bid  me  to  live  or  die ! 

Chorus  of  Girls  {off).  Barbara!  Bar- 
bara! 

Barbara.     Yes,  yes,  I'm  coming ! 

Alvarado.  There  was  a  time  I  was  your 
choice.  What  has  changed  my  cousin  ?  There 
is  another! 

Barbara.     Juan  Bautista !    Juan  ! 

Alvarado.  And  you  but  a  convcnt-girl ! 
Ha,  ha !  Innocence,  thy  name  is  Barbara  de  la 
Guerra ! 

Chorus  of  Girls     Barbara !    Barbara ! 

Barbara.  Not  another  word ! — I'm  com- 
ing. 

Alvarado.     You  prefer  a  stranger! 

Barbara.  Your  every  word  is  an  insult ! 
I  leave  you!     {Exit  into  hacienda.) 

Alvarado.  Santa  Maria !  I,  Juan  Bau- 
tista Alvarado,  to  be  jilted  by  this  convent- 
girl,  who  is  mine  by  every  right !  'Tis  the 
damned  Americano  !     I  will  have  his  life  ! 

(N  ATOM  A  is  seen  secreted  in  arbor,  listen- 
ing.) 

Castro  {comes  out  of  shadorc).  Not  so 
fast !  There  is  a  better  v.-ay.  To-morrow  at 
the  Fiesta  there'll  be  an  hundred  of  our 
friends !  When  the  gayety  is  at  its  height,  I 
will  have  swift  horses  readv-     We  can  steal 


NATOMA 


15 


the  girl  away  to  the  mountains,  where  none 
can  follow.  The  whole  country  will  be  with 
us,  for  they  hate  the  Americanos !  Be  guided 
by  me. 

Alvarado.    Castro,  you  are  right ;  we  must 
have  patience — but  to-morrow  ! 

(Nato:ma   comes   forth   frovi    the  arhor 
zcith  xcater-urn  on  her  shoulder,  crosses 
stage  and  exit  behind  hacienda.) 
Alvarado.     I  never  liked  that  girl.     She 
broods  too  much. 

{Xight  begins  to  fall.) 

SCENE  VI 

(Convent-Girls  come  out  of  hacienda, 
with  Barbara  in  their  midst.) 

CoXVENT-GlRLS 

The  hour  has  come  for  us  to  sever 
Those  happy  days  we've  spent  together; 
For  now  the  evening  shades  are  falling, 
And  home  the  convent  bells  are  calling. 

Forget  us  not  in  all  the  splendor, 
The  homage  new-found  friends  will  render ; 
For  time  will  make  our  hearts  the  fonder, 
No  matter  where  thy  steps  may  wander. 

(While  the  Convent-Girls  are  singing 
these  verses,  Alvarado,  Castro,  Pico, 
Kagama  and,  finally,  Paul,  pass  one 
by  one  in  front  of  Dox  Francisco 
and  Barbara,  going  up  stage  and  fol- 
lorcing  Convent-Girls  and  Peralta. 
They  sing  portions  of  the  following 
lines  as  a  final  salute.) 

We  bid  thee  all  good-night, 
Until  tlie  morning  light 
Our  glad  reunion  brings. 

(Exeunt  all  excepting  Barbara  and  Don 

Francisco.  ) 
CoxvEXT-GiRLS  (in  the  distance). 
Ohe !  ohe ! 
We  swing  on  the  evening  tide, 
The  low  waves  gently  glide. 
Ohe !  ohe  !  ohe ! 

(Dox  Francisco  and  Barbara  em- 
brace.) 


Barbara.  Let  me  linger  here  awhile,  and 
once  again  breathe  the  fragrance  of  the  scene 
— my  childhood  home. 

D.  Fraxcisco.  a  little  while,  sweet  Bar- 
bara, and  then  repose ;  for  to-morrow  hath  a 
myriad  pleasant  duties  for  my  child.  Good- 
night, good-night !  To-day  the  years  roll 
backward  in  their  flight.  (Exit  into  hacienda.) 

SCENE  VII:  FINALE 

Barbara  (to  herself).  O,  wondrous  night! 
The  shadows  fall  around  me ;  in  thy  protecting 
arms  I  am  enfolded.  Be  not  too  bold,  O 
stars ;  I  see  you  peeping  thro'  the  trees.  Pray 
turn  thine  eyes  away,  O  wondrous  night ! — 
I  have  not  dreamed  of  love ! 

My  confidant,  oh  silver  moon. 
How  oft  with  thee  I've  held  commune, 
And  wondered  if  the  tale  be  true, 
That  lovers  should  confide  in  you. 

Ah,  bid  me  now,  when  none  can  hear, 
To  whisper  in  thy  kindly  ear 
The  greatest  secret  ever  told, 
A  story  new,  and  never  old. 

I  love  him !  In  secret  hear  my  vow : 
I  love  him !  For  none  shall  know   but  thou. 
I  love  him  !  Ah,  chide  me  not,  I  pray  ! 
I  love  him !  'Tis  all  my  heart  can  say, 
I  love  him ! 

Paul  (entering  hurriedly).  Let  come 
what  will,  the  magnet  of  her  beauty  draws 
me  back  again. 

Barbara.     Senor ! 

Paul.  Fair  maid,  I  could  not  leave  thee,  I 
could  not  part  Avithout  one  word  with  thee 
alone. 

Barbara.     Beware !     The  danger 

Paul.     Danger.'^ 

Barbara.      My  father 

Paul.     Danger ! 

Tho'  the  seas  were  tempest-tossed, 

Tho'  the  waves  ran  mountain-high, 

I  would  their  strength  defy. 

And  breast  the  storm  that  bears  me  close  to 

thee. 
Ah,  my  beloved,  close  to  thee ! 


16 


NATOMA 


Barbara  {aside) 

His  voice  awakes  mj  very  soul ! 
Ah,  I  dare  not  reply ! 
My  faltering  lips  cannot  deny 
My  all  too  willing  heart. 

Paul 

I  love  thee,  I  love  thee ! 

Here  I  proclaim  my  adoration ! 

Loved  one,  my  soul  cries  out  to  thee ! 

Barbara 
I  tremble !  my  heart  is  beating ! 

Paul 

Turn  not  away ;  it  is  the  voice  divine. 
The  voice  of  love  that  pleads ;  one  word 
From  those  sweet  lips,  I  do  implore  thee ! 

Barbara 

I  cannot  say  thee  nay. 

Look  into  my  eyes  and  read  the  answer  there : 


love 
love 
love 


thee 
thee 
thee 
thee 


Both 

In  secret  hear  my  vow : 
For  none  shall  know  but  thou; 
Ah,  chide  me  not,  I  pray ! 
'Tis  all  my  heart  can  say, 


I  love  thee! 


May  heaven  hear  my  prayer ! 
Beneath  the  stars  I  swear. 
With  all  my  soul  I  love  thee ! 
With  all  my  soul  I  love ! 

{They  stand  in  fond  embrace.  A  light 
appears  in  first  window  of  hacienda.) 

Barbara.     My  father !     Good-night ! 

Paul.     One  kiss  upon  those  tell-tale  eyes ! 
(The  light  in  window  of  hacienda  dis- 
appears, but  reappears  over  doorway.) 

Barbara 

Until  to-morrow,  good-night! 
I  love  thee ! 

(The  light  disappears  from  over  door- 
way, but  reappears  in  another  win- 
dow of  hacienda  further  up  stage. 
Barbara  reaches  porch  of  hacienda. 
Paul  disappears  over  rise  of  ground. 
Light  disappears  from  window,  and 
Barbara  enters  doorway  of  hacienda 
in  the  shadow  quickly.  The  light  ap- 
pears in  the  fourth  window  of  the 
hacienda;  Natoma  is  seen  with  a 
lighted  candle  in  her  hand.  She  places 
it  on  a  table  and  seats  herself  with  the 
light  full  in  her  face,  resting  her  chin 
on  her  hands  with  her  elbows  on  the 
table,  and  gazing  out  motionless  into 
the  moonlight.) 

(Slow  curtain.) 


It  is  to  be  expected  that  womankind  will 
do  the  unexpected;  it  has  been  so  from  the 
beginning. 


[17] 


ACT  II 


SCENE  I 

Plaza  in  front  of  the  Mission  Church,  which 
occupies  the  upper  back  of  the  stage  and 
has  an  arcade  extending  across  right  up- 
per; roadway  comes  in  around  arcade. 
Large  fountain  at  left,  also  an  adobe  inn. 
At  right,  grand-stand.  The  music  of 
the  prelude  indicates  the  approaching 
Fiesta.  Early  dawn.  Light  shows 
through  musty  windows  of  inn.  Na- 
TOMA  comes  on  cautiously  from  roadway, 
keeping  in  shadow  of  arcade;  she  ap- 
proaches steps  in  front  of  main  doors  of 
church,  hesitates,  goes  up  the  steps  to 
small  door,  pauses,  reaches  out  her  hand 
as  if  to  touch  the  holy  water,  pauses 
again,  then  turns  rapidly  away. 

Natoma  {looks  over  the  scene  and  turns 
toward  centre).  No!  Within  the  hour  the 
morning  sun  will  flood  the  hills,  and  herald  in 
the  summer's  day:  It  is  the  festal  day  of  my 
dear  mistress,  Barbara !  I  am  thy  willing 
slave,  thy  voice  is  ever  gentle,  wise  has  been 
thy  counsel,  to  guide  the  wayward  feet  of 
poor  Natoma.  I  wish  thee  well,  I  wish  thee 
joy;  and  may  the  mighty  Spirit  crown  thee 
queen  of  this  fair  land.  {Pauses  as  if  recall- 
ing something  to  mind.)  How  tall  and  fair 
and  brave  was  he !  His  love  was  mine,  mine 
for  one  short  hour !  All  my  heart  was  his,  to 
take  and  hold  forever.  Together  we  might 
have  wandered  through  the  valleys,  over  the 
violet  hills,  under  the  mighty  oak  to  make  our 
couch.  I  would  gather  for  his  pillow  the 
dainty  fern ;  he  would  hold  me  in  his  arms 
beneath  the  stars,  while  fireflies  pla3'ed  among 
the  trees  and  from  the  vale  below  came  the 
music  of  the  stream.  Ever  to  live  in  my  fair 
land  alone  with  thee !  The  world  so  far  away, 
my  Chieftain  by  my  side !  Alone  with  thee, 
far  away ! 

Girl's  Voice  {behind  scene).  Ah! 

{Laughter  and  noise  from  the  inn.) 


Natoma 

Laugh  on,  and  waste  the  hour  in  revel! 

You  think  to  carry  out  your  plot. 

And  reckon  not  on  one  whom  you  ignore 

Like  so  much  carrion.    'Tis  better  so : 

For  if  Natoma  is  to  act, 

She  will  take  counsel  with  herself. 

It  is  the  only  way. 

{Church-bell  sounds.) 

The  call  to  prayer.  The  Padre  bids  me  en- 
ter in  the  Church.  Often  has  he  told  me: 
"Here  shalt  thou  find  peace,  content  and  love.'* 
He  bids  me  turn  my  back  upon  the  faith  that 
thro'  the  ages  has  come  down  from  every 
Chieftain  to  his  people.  Fire  and  eternal  tor- 
ture shall  be  my  lot,  if  I  refuse.  I  do  refuse ! 
I  refuse ! 

Great  Manitou,  Great  Spirit  of  the  hills. 
Bend  low  thine  ear  unto  my  prayer ! 
Lend  me  thine  aid  in  my  despair! 

Hold  forth  thy  hand. 

Give  thy  command ; 
Let  not  my  feet  be  led  astray, 
Guide  me  aright  this  day ! 
Great  Manitou,  Great  Manitou, 
I  pray  to  you,  I  pray  to  you ! 

{Exit  rapidly.) 

SCENE  II 

{A  shepherd's  pipe  is  heard  off  stage. 
Boy  appears  in  the  roadway;  on  his 
back  is  slung  a  large  pig-skin  milk- 
gourd.  He  pauses  on  steps  of  church, 
crosses  himself,  and  then  continues 
down  to  door  of  inn.  Door  opens 
and  Bruzzo  comes  out,  takes  milk- 
gourd  from  Boy  and  carries  it  into 
inn;  Boy  follows.  A  snare-drum  is 
heard  off  stage.  The  tramp  of  sol- 
diers is  also  heard.  A  drummer  with 
four  trumpeters  appears,  after  them 
a  Sergeant   followed  by  a  squad  of 


[19] 


20 


NATOMA 


soldiers.  Ttco  friars  come  out  of  the 
church  to  receive  flag;  the  Sergeant 
delivers  flag  to  the  friars.  The  flag 
is  seen  mount itig. 

The  stage  commences  to  fill.  There  are 
several  booths  at  left.  The  -women  ar- 
range and  display  their  wares  in  the 
booths.  Soldiers  inspect  wares  and 
flirt  with  the  girls. ) 

Chorus  of  Women 

Come,  bu}^!     Step  up!     Come,  buy! 

The  daintiest  ever  seen ! 

A  jewelled  belt,  a  hat  of  felt, 

For  you,  Senor,  is  just  the  thing! 

Take  out  your  purse,  untie  the  string  ! 

Here's  what  you  will  from  old  Seville, 

New  caps  and  wraps,  a  pair  of  shoes, 
And  royal  lace  all  made  by  hand, 
In  fine  array  from  every  land; 
A  piece  of  braid  will  win  a  maid: 

Now  let  your  sweetheart  choose ! 

Chorus  of  Soldiers. 

Our  willing  hearts  you  can  beguile 
With  witching  eyes  and  loving  smile ; 
Your  wares  will  not  our  pockets  tempt, 
From  that  our  purses  are  exempt. 

Come,  drink  !    Come,  drink ! 
A  glass  of  old  Mescal. 
Come,  drink  !    Come,  drink ! 
[We  wish  our  Lady  well.] 

Here's  health  and  wealth 
To  her  who  dares  to  sip. 
A  glass — my  lass  ! 
Come,  touch  your  pretty  lip ! 

Women 

To-day  we  lay 
Our  treasures  at  your  feet. 
New  wraps  and  caps 
[And  petticoats  so  neat.] 

Men 

Enough !    Enough ! 
Your  chatter  fills  the  air ! 


Women 

Don't  be  so  gruff! 

[You're  growling  like  a  bear!] 

Tenors    {Group    of    guitar    and    mandolin 
players;  sentimentally). 

List  to  our  prayer. 

Fair  nymph  of  azure  eyes  ! 

One  hour  with  thee. 
Indeed,  were  Paradise. 

By  night  and  day 

We  dream,  both  near  and  far. 
Of  only  thee. 

Of  thee,  our  guiding-star ! 

Chorus 

Ha,  ha,  ha,  ha !  your  guiding-star ! 
Oh,  love-sick  swain,  we  know  that  strain ! 
Ha,  ha,  ha,  ha ! 

(Girls  display  their  wares  at  booths.  The 
guitar  and  mandolin  players  visit  the 
booths.  Some  soldiers,  with  the  Ser- 
geant, continue  drinking;  others  mix 
•with  crowd.) 

SCENE  HI 

{Cracking  of  whips  is  heard  off  stage.) 
Chorus 

The  Vaqueros  !     The  Rancheros ! 
Hola !  hola !  hola ! 

{Two  mules  appear  in  roadway,  attached 
to    a    large    old-fashioned    open   cart 
with   hay-rack  spreading  out.      It   is 
filled  with  gayly  dressed  vaqueros  and 
rancheros. ) 
Vaqueros  and  Rancheros  {dismounting). 
Aie !  aie !    (entering)      Good  friends  and  re- 
tainers all  of  Don  Francisco,  aie ! 

Pico 
Who  dares  the  bronco  wild  defy.? 
Who  looks  the  mustang  in  the  eye? 

Fearless  and  bold, 

Their  master  behold :  Aie  ! 
With  a  leap  from  the  ground 
To  the  saddle  in  a  bound. 

And  away  !     Aie  ! 
Chorus.    Aie !  aie !  aie ! 


NATOMA 


21 


Pico 

See  where  the  bull  upon  his  knees 
Snorts  when  his  neck  we  tighter  squeeze ; 

Wild  are  his  eyes ! 

Fiercely  he  dies  !    Aie ! 

Chorus.    Aie!  aie!  aie! 

Pico 
Vaqueros,  devils  to  dare ! 
Vaqueros,  never  a  care ! 
Vaqueros,  ready  to  fling 
Our  glove  in  the  ring — mis  amigos! 
Far  o'er  the  mesa  we  tear, 
Reata  high  in  the  air! 
Vaqueros,  Kings  of  the  Plain, 
Undaunted  we  reign !    Aie ! 

(Chorus  repeat.) 

{Enter  Alvarado  and  friends.) 

Sergeant.     Welcome,  Don  Alvarado  ! 

Chorus.    Long  life  to  Alvarado  ! 

Alvarado.  Thanks,  good  friends !  for  so 
I  know  you  all  to  be.  Your  kindly  welcome 
fills  my  heart  with  pride ! 

All.     Long  life  to  Alvarado ! 

Alvarado.  Here,  Bruzzo !  Remember, 
'tis  open  house  to-day !  At  my  expense 
they  drink  wdth  Alvarado ! 

(More  applause.) 

Alvarado  (under  his  breath  to  Chiquita). 
You  little  devil !  I  would  rather  dance  with 
thee  than  have  absolution  for  all  my  sins ! 

(They    dance.      Kagama,    interrupting 
dance. ) 

Kagama.     They  come !     They  come ! 

(Trumpets  and  drums  heard  off  stage.) 

SCENE  IV 

Sergeant  (to  soldiers;  spoken).  Atten- 
tion !     Fall  in ! 

Castro  (aside,  to  Alvarado).  Damn  that 
wench,  Chiquita  !     Come  to  your  senses,  man  ! 

Alvarado  (aside,  to  Castro).  Bah!  the 
crowd  is  with  me,  our  plan  is  easy !  Here, 
Pico!     Are  the  horses  ready? 

Pico.     Ready,  Senor,  upon  the  signal ! 


Chorus.     They  come !  they  come ! 

Alvarado.  She'll  be  mine !  Where  is  the 
Americano? 

Castro.  Coming  from  his  ship  with  a 
party  of  his  men. 

Alvarado.  So  much  the  better!  'Twill 
divert  attention.  Come,  let  my  welcome  to 
my  future  bride  outherald  all  the  rest ! 

Women.  Hurry,  hurry !  Make  ready^ 
make  ready ! 

Men.     Get  into  line  there ! 

Women.  You  take  up  all  the  room  your- 
selves, you  brutes  !  Clouds  of  dust !  We  see 
nothing  yet ! 

Men.     Stop  your  chattering  !     Be  quiet ! 

All.     Here  they  come  !  here  they  come ! 
(Convent-girls  come  out  of  the  arcade. ^ 

Convent-Girls 

Happy  day. 

That  bids  us  to  attend 
In  glad  array 

The  coming  of  our  friend. 

Welcome  hour. 

That  sends  us  forth  to  greet 
With  floral  shower 

The  pathway  'neath  her  feet. 
Oh  happy  day  !  oh  happy  day  ! 

Men 

Don  Francisco  comes,  our  noble  Don ! 
How  well  he  rides  his  haughty  steed! 

Women 

Don  Francisco  comes,  our  mistress  by  his  side  f 
(Enter   Don    Francisco,    Barbara    on 
horseback,  Natoma  on  foot  at  Bar- 
bara's side.) 

Chorus 

Hail,  fair  Barbara ! 

To  noble  Don  Francisco,  hail ! 

(They   dismount,    and   make   circuit   of 
stage  to  grand-stand.) 

Oh  happy  day  !  oh  happy  day ! 

Don  Francisco.  Good  friends,  retainers^ 
trusty  servants  all,  we  greet  ye,  and  give  our 


■22 


NATOMA 


hearty  thanks  for  this  inspiring  -welcome. 
Famihar  faces  here  I  see  from  all  the  con- 
fines of  our  land,  each  vying  with  the  other 
in  expression  of  their  joy  and  in  devotion  to 
our  house.  Too  soon  the  fleeting  years  de- 
prive me  of  my  little  girl,  but  bring  to  me  in- 
stead a  woman  grown ;  and  when  I  gaze  into 
her  eyes  I  see  reflected  there  the  image  of  my 
own  fair  bride — her  mother. 

A  fair  Castilian  rose  I  plucked  from  our 
beloved  Spain.  It  is  transplanted  here.  Her 
noble  spirit  still  survives  within  the  heart  of 
4his,  our  daughter! 

(Natoma  kneels  before  Don  Francisco, 
holding  a  pillow  upon  which  is  placed 
a  piece  of  old  Castilian  lace.) 

And  here  upon  her  brow  I  place. 
According  to  the  custom  of  our  land. 
This  woof  of  royal  lace. 
From  olden  time  bequeathed  to  her 
Who  doth  succeed  to  title  and  estate. 
(Natoma  pins  the  lace  over  Barbara's 
head  and  down  her  back.) 

Chorus 

Around  thy  radiant  brow  we  bid  thee  wear 

the  crown ; 
'Thy  loving  sub j  ects  hail  thy  domain  ! 
Long  may'st  thou  reign ! 
Ma}'  angels  from  above  . 

Thy  hand  guide  with  love ! 

Barbara.  Dear  Father,  friends  of  my 
girlhood  and  all  who  came  to  wish  me  happi- 
ness to-day:  I  have  no  words  with  which  to 
tell  how  overflowing  is  my  heart.  Forgive 
me,  if  I  am  bewildered. 

My  dear  mother  I   never  knew ;  but   in  my 

dreams 
A  voice  has  come  to  me  and  whispered : 
"Rule  thou  by  love,  let  kindness  be  thy  aim; 
I  live  in  thee,  to  all  the  world  proclaim." 

This  precept,  by  gift  divine 
Shall  be  my  daily  prayer. 

(Changing  from  grave  to  gay.) 


Good  friends,  I  am  of  age ! 
It  is  my  festal  day  ! 
Make  merry,  fill  the  air  to-day 
With  merriment  and  roundelay; 
Dull  care,  away ! 

I  list  the  trill  in  golden  throat 
Of  yonder  bird  on  wing  afloat, 
Bearing  the  message  far  and  near, 
"Awake,  my  love,  the  Spring  is  here !" 

The  tiny  rill  adown  the  vale 
Unto  the  brooklet  tells  the  tale ; 
Singing  together,  on  they  go 
To  join  the  river  far  below. 

Across  the  field  of  ripening  grain 
The  zephyrs  bear  the  same  refrain, 
From  every  bough,  from  every  tree, 
I  hear  again  the  melody. 

The  wind  that  plays  within  the  sheaf, 
Carries  the  tale  to  silver  leaf; 
The  drowsy  poppy  hears  the  bee 
Humming  the  song  in  ecstasy. 

Fly  forth,  ye  minions  of  the  sky ! 
Our  happiness  sing  out  on  high, 
Bearing  the  message  far  and  near: 
Awake,  my  love,  the  Spring  is  here ! 

Alvarado 

I  offer  a  toast,  good  friends ! 
To  one  whose  radiant  beauty  lends 
New  lustre  to  the  day : 
Barbara  de  la  Guerra ! 

All.     Barbara  de  la  Guerra ! 

Alvarado.  May  I  have  the  honor  and  the 
privilege,  my  cousin,  to  take  you  by  the  hand 
and  show  to  all  our  loving  friends  that  those 
graceful  steps  which  in  the  golden  days  found 
favor  with  my  noble  aunt,  your  mother,  are 
still  the  heritage  of  her  lovely  daughter.'* 

Barbara. 

Willingly  will  I  obey  the  custom 
Of  the  olden  time,  and  tread  a  measure, 
If  by  so  doing  I  may  give  pleasure 
To  all  assembled  here. 


NATOMA 


23 


{They  dance  the  minuet,  continuing  un- 
til a  cannon-shot  is  heard.  The  music 
stops;  Alvarado  would  go  on;  an- 
other cannon-shot  sounds,  and  Ka- 
GAMA  enters.) 

Kagama.  Don  Francisco,  the  ship  of  the 
Americanos  is  saluting.  An  envoy  and  guard 
of  honor  have  disembarked,  and  come  this 
way! 

Don  Francisco.  Bid  them  welcome,  we 
will  greet  them !  It  is  a  tribute  to  our  Sov- 
ereign.    Show  them  every  honor! 

SCENE  V 

Sailors  {off  stage) 

Blow,  Boreas,  blow ! 

Old  Neptune,  shake  your  locks ! 
We'll  trim  our  maid  in  her  daintiest  braid 

And  flaunt  her  prettiest  frocks ! 
Blow,  Boreas,  blow ! 

{Entering.) 
We  round  the  Horn  and  laugh  to  scorn 

Old  Scylla  and  Carib. 
We  stick  our  nose  wherever  it  blows. 

And  never  stow  a  jib. 

{Enter  Paul  and  Brother-Officers.) 
Blow,  Boreas,  blow !  etc. 

Paul  {bowing  to  Don  Francisco).  My 
commander  as  envoy  bids  me  come,  to  tender 
you  his  compliments  and  ask  you  to  accept 
the  good-will  of  his  government.  Here  upon 
this  far-off  shore,  where  Nature  spreads  with 
open  arms  the  treasures  of  her  fields,  we 
would  salute  your  sovereign  flag,  the  noble 
pennant  of  historic  Spain ! 

No  country  can  my  own  outvie 

In  tribute  to  the  one 
Who  held  the  flag  of  Spain  on  high 

Toward  the  setting  sun. 

His  noble  figure  stands  apart 

In  sacred  trust  to  hold ; 
Upon  our  shield,  upon  our  heart, 

His  name  is  stamped  in  gold. 

Columbus !     Led  on  by  hand  divine, 
Columbus  !    My  country's  love  is  thine ! 


The  sail  that  fills  with  fav'ring  wind 

Is  guided  by  command 
Of  some  immortal  Goddess  kind. 

Who  bids  us  where  to  land. 

The  spirit  that  directed  thee, 
Great  Captain,  safe  to  shore. 

Is  goddess  of  our  Liberty, 
Whose  name  we  all  adore. 

Columbia  !   Bright  Goddess  of  the  free ! 
Columbia  !  We  pledge  our  love  to  thee ! 

Don  Francisco.  Your  noble  sentiments 
inspire  our  hearts  anew  with  friendship  and 
good-will  for  all  your  countrymen!  With 
pride  and  pleasure  do  we  welcome  thee ! 

(Paul  mounts  upon  grand-stand.) 

Alvarado.  Fairest  cousin!  Thou  hast 
not  forgot.?  We  do  attend  upon  thy  dainty 
steps.     Now  let  our  dance  proceed. 

(Barbara,  who  has  been  talking  for- 
mally and  with  reserve  to  Paul,  hesi- 
tates, then  steps  down  to  join  Al- 
varado. The  several  groups  of  danc- 
ers take  part  in  the  dance,  which 
groxvs  louder  and  louder,  until  sud- 
denly each  of  the  groups  breaks  into 
the  Pcmuelo  or  handkerchief -dance.  It 
is  a  dance  of  declaration,  which  be- 
comes more  and  more  impassioned  un- 
til, as  a  climax,  each  man  takes  his  hat 
and  places  it  on  his  partner  s  head. 
Alvarado  does  as  the  others  do.  At 
the  tableau  all  the  girls  retain  the  hats 
on  their  heads.  Alvarado's  hat  rests 
an  instant  on  Barbara's  head;  when 
she  tosses  it  off  and  turns  toward  the 
grand-stand. ) 

Chorus.  She  jilts  him!  It  cannot  be!  He 
is  refused ! 

Alvarado  {aside,  picking  up  his  hat). 
Once  again — and  this  time  before  the  world ! 
Damnation ! 

Don  Francisco  {giving  his  hand  to  Bar- 
bara as  she  mounts  the  steps).  Nay,  nay,  my 
friends !  A  dance  is  but  a  dance.  On  with 
the  Fiesta! 


24 


NATOMA 


SCENE  VI 

Castro  {coming  suddenly  from  inn). 
These  mincing  steps  and  these  grimaces  are 
but  mockery!  You  smirk  and  bob  Kke  pup- 
pets, you  bow  and  scrape  Hke  midgets  to  a 
love-sick  guitar.  Who  dares  to  dance  with 
Castro?  I  offer  you  no  puny  minuet!  I  bid 
you  meet  me  in  the  ancient  dagger-dance  of 
the  Cahf  ornians !  (Strikes  his  dagger  fiercely 
in  ground.)  Come!  Will  you?!  or  you?!  or 
you  ? !  Come !  (Mokes  circuit  of  stage,  like  a 
panther.)  I  challenge  you  one  and  all! 
(Takes  attitude  of  defiance.  The  crowd  turns 
away  with  show  of  disinclination.) 

(N  ATOM  A   rises   slowly.      She   walks    to 
centre,    takes  dagger   from    her  belt, 
and  sticks  it  next  to  that  of  Castro.) 
Chorus.    Natoma ! 
Castro.     You?     No!    No! 

(Natoma  draxm  up  to  full  height  and 
points  sternly  at  the  daggers,  looking 
steadfastly  at  Castro.  Castro  makes 
a  wild  gesture.  They  pose  for  the 
dance. 
As  the  dance  progresses,  Alvarado 
is  seen  removing  his  scrape  from  his 
shoulders.  Pico  and  Kagama  proceed 
to  remove  the  railing  of  the  grand- 
stand, so  that  Barbara  sits  facing 
centre,  unprotected.  The  music  grows 
in  dramatic  fervor.  In  unison  Castro 
and  Natoma  pluck  the  txvo  daggers 
from  the  ground,  and  break.     They 


come  together  and  pass  each  other 
twice.  At  this  moment  Alvarado 
smothers  Barbara  in  his  scrape;  Pico 
is  seen  with  horses  in  roadway.  Al- 
varado and  Kagama  take  Barbara 
off  of  grand-stand  and  are  proceeding 
to  carry  her  off.  The  dance  is  at  its 
fiercest.  Natoma  makes  a  sweeping 
lunge  at  Castro,  but  purposely  passes 
him;  rushes  right  front,  and  plunges 
her  dagger  into  Alvarado.  The  dance 
comes  to  a  stop  with  a  crash.) 

FINALE 

Alvarado.     Dios !     (Falls  and  dies.) 
Chorus.     Kill  her  !     Away  with  her ! 
Paul  (to  sailors).     To  the  rescue! 

(Sailors  and  soldiers  rush  between  crowd 
and  Natoma.) 
Crowd.     Kill  her!     Away  with  her! 

(Large   doors    of    church    swing    open. 
Peralta    appears    on   steps.      He   is 
holding  aloft  his  cross.) 
Peralta.     Hold  !  hold  !  nomine  Christi ! 
(Crowd    turns    toward    Peralta.       At 
sight  of  cross  they  fall  to  their  knees. 
Peralta  looks  at  Natoma  and  makes 
a  gesture  of  protection  with  his  free 
hand  and  arm.    Natoma  goes  to  steps 
of  church ;  she  drops  dagger  and  falls 
at  the  feet  of  Peralta.) 
Peralta    (still   holding   aloft   the   cross). 
Vengeance  is  mine,  saith  the  Lord! 


I  AM  AN  INDIAN 


[25] 


ACT  III 


SCENE  I 

Interior  of  mission  church.  As  curtain  rises 
Natoma  is  alone  in  the  church,  huddled 
on  the  steps  of  the  altar.  She  rocks  to 
and  fro  with  her  arms  and  head  on  her 
knees. 

Natoma 

Beware  of  the  hawk,  my  baby, 
Beware  of  the  hawk,  my  child ! 
It  flies  in  wide,  wide  circles 
And  turns  upon  the  wing, 
Too  quick  for  the  eye  to  follow : 
Beware  !    Beware !    Beware ! 

Lie  down  in  the  nest,  my  baby, 
Lie  down  in  the  nest,  my  child ; 
The  willow-bough  will  hide  you 
And  rock  you  in  its  arms ; 
So  sleep  until  to-morrow : 
Lie  down,  lie  down,  lie  down. 

{She  lifts  her  head  and  puts  her  hand 

to    her    throat,    feeling    the    amulet, 

which  she  presses  to  her  heart.     She 

rises,  and  steps  down  to  space  in  front 

of  altar.) 

Natoma   (m  front  of  altar-rail).     Lonely 

am  I,  lonely  is  my  heart ;  I  feel  it  beating 

here    within    like    the    breaking    of    the    sea 

against  the  shore.      I   would  cry   out !     Ah ! 

Yet  all  around  me  are  these  walls  that  only 

echo  back  my  voice :  Lonely  am  I ! 

What  mean  these  gloomy  shadows,  these 
unknown  shapes  that  point  their  fingers  at  me.'' 
There  is  a  mist  before  my  eyes,  I  walk  in 
darkness. 

(Coming  centre.) 

The  eyes  of  my  people  were  cold  and  dark ; 
The  eyes  of  the  stranger  were  soft  and  blue. 
His  voice  was  the  call  of  the  dove  to  his  mate. 
His  breath  was  honey  on  the  wings  of  the  bee ; 
His  song  was  the  song  of  the  morning. 
That  bids  the  flower  to  lift  her  head 
And  hail  the  coming  of  the  dawn ! 


I  was  tempted,  I  have  done  wrong,  I 
thought  only  of  Natoma.  False  have  I  been, 
false  to  myself,  false  to  my  father's  teaching, 
false  to  my  people's  faith !  Manitou !  hear 
me! 

I  have  awakened! 

I  will  go  to  my  people. 

The  voice  of  my  father  is  calling, 

"This  land  is  ours  !" 

We  will  rush  from  out  the  mountain 

Like  the  lightning,  like  the  thunder. 

Every  stranger  and  his  house 

Shall  lie  buried  'neath  our  anger. 

In  my  breast  I  hold  the  token. 

And  the  gift  shall  be  unbroken 

From  the  Spirit  to  his  people. 

(Father  Peralta  comes  from  hack  of 
altar,  and  appears  on  steps.) 

Peralta.  Peace !  Peace  in  the  House  of 
God! 

Natoma  (looking  up  at  him  defiantly). 
Your  God,  not  my  God ! 

Peralta.  Our  God,  my  child.  There  is 
but  one  God,  the  mighty  Spirit  of  your  peo- 
ple and  of  mine.  This  is  His  house,  builded 
to  protect,  to  shield,  to  help  us  both. 

Natoma  (turning  her  head).  I  want  no 
help  from  any  one. 

Peralta.    Thou  art  indeed  in  need  of  help. 

Natoma.     I  will  go  my  way. 

Peralta  (coming  down).  Turn  not  away, 
my  child !  Lift  up  thine  eyes,  and  greet  the 
light  of  eternal  love ! 

Two  children  wandered  hand  in  hand, 
And  played  amid  the  golden  sand. 
The  one  was  dark  and  sad  of  face, 
The  other  fair  and  full  of  grace. 
The  light  of  love  shone  in  their  eyes ; 
O  childhood  days,  O  Paradise! 


Natoma.     My  Barbara!    (spoken.) 


L27j 


S8 


NATOMA 


Peralta 

Unharmed,  the  lark  poured  forth  its  trill, 

Sang  out  its  lay  from  hill  to  hill. 

And  ever}'  flower  awoke  to  thrill 

With  God's  great  song,  "On  Earth  good-will." 

O  Faith  divine !  O  Power  of  Love ! 

This  is  the  message  from  above. 

{With  great  fervor.)  My  child  of  the 
lonely  heart,  the  same  love  that  was  yours 
in  the  golden  sands  awaits  you  here.  The 
eyes  of  the  Madonna  are  looking  into  thine ; 
She  holds  out  Her  arms  to  thee ;  She  will  take 
thee  unto  Her  great  heart ;  She  will  lift  thy 
soul  until  it  joins  the  spirit  of  thy  Father  in 
the  clouds  above  the  mountain. 

(Xatoma  has  gradually  lifted  her  face 
until  she  looks  far  away  into  space.) 

Natoma  {in  quiet  ecstasy).  Love  shall  be 
repaid  by  love.  There  is  one  I  wish  to  make 
happy ;  my  love  is  my  faith !  I  will  do  thy 
bidding:  {coming  close  to  Peralta)  I  have 
spoken ! 

Peralta  {zcith  great  joy).  Glory  to  the 
power  of  love !  All  praise  to  our  Lady,  who 
speaks  through  this  child!  {Turns  toward 
crucifix.)  Now  let  all  that  trust  in  Thee  re- 
joice! 

(Peralta  walks  rapidly  up  altar  steps 
and  taps  a  hell.  An  acolyte  appears; 
Peralta  has  a  word  with  him  in  pan- 
tomime. Xatoma  approaches  steps  of 
altar  and  stands  motionless  on  lower 
step.  The  sunlight  dies  down;  acolytes 
commence  to  light  candles  on  altar. 
Choir  is  seen  gathering  in  organ-loft. 
An  acolyte  brings  Peralta  his  vest- 
ments, which  he  dons.  Two  friars 
cross  church  to  doors.  Peralta  gives 
the  signal  for  the  simultaneous  open- 
ing of  the  doors  and  the  beginning  of 
the  chorale.) 

Choir  of  Monks 

Te  lucis  ante  terminum, 
Rerum  Creator,  poscimus, 
Ut  pro  tua  dementia 
Sis  prjEsul  et  custodia. 


Deo  Patri  sit  gloria, 
Et  Filio,  qui  a  mortuis 
Surrexit,  ac  paraclito, 
In  sempiterna  sa?cula. 

{As  choir  commences  the  above,  the  monks 
open  both  doors  wide.  The  church 
commences  to  fill.  Paul's  brother-of- 
ficers enter,  then  ladies  and  dignitaries. 
Paul  enters,  and  takes  seat  near  and 
facing  altar.  Dox  Fraxcisco  and 
Barbara  enter  last,  taking  seats  across 
aisle  from  Paul,  facing  altar.  Na- 
toma is  standing  on  loxcer  step  of  al- 
tar, recognizing  no  one. 

At  the  end  of  this  service  the  music  dies 
down  to  a  pedal- point  on  the  organ; 
Peralta  mounts  pulpit.) 

Peralta    {spoken).      My    children:    Our 
steps  are  taken  in  darkness,  but  the  light  of 
Eternal  Love  shall  make  our  pathway  clear. 
Judge  not,  that  ye  be  not  judged. 
{intoned) 

Come  unto  me,  all  yc  that  labor  and  are 
heavy  laden,  and  I  will  give  you  rest. 

Finale 

{From  behind  the  convent-garden  door 
are  heard  the  voices  of  the  UrsuUne 
nuns  in  their  chorale  of  praise  on  the 
reception  into  their  order  of  a  new 
convert. ) 
Chorus  of  Nuns   {off  stage).     Sanctus ! 

Sanctus !     Sanctus  !    Dominus  Deus  Sabaoth  ! 

Pleni  sunt  coeli  et  terra  gloria  tua.    Hosanna 

in  excelsis. 

{Chorus  of  nuns  enter,  and  form  two 
rows.  The  choir  in  organ-loft  takes 
up  the  theme  of  nuns'  chorus.  It 
reaches  a  climax  with  the  nuns  kneel- 
ing on  either  side  of  cross-aisle.  Na- 
toma turns  her  head  and  looks  at 
Peralta  in  the  pulpit.  He  bows  to 
her  very  slightly  and  benignly.  Na- 
toma steps  slowly  down  toward  the 
main  aisle.  She  walks  down  main  aisle, 
reaches  the  pews  where  Paul  and  Bar- 
bara  are   seated,   pauses,   and   turns 


NATOMA 


29 


facing  altar.  Barbara  and  Paul,  as 
though  under  the  spell  of  sovie  control- 
ling power,  come  into  aisle  and  kneel 
in  front  of  Natoma,  who  takes  the  am- 
ulet from  off  her  neck  and  places  it 
over  Barbara's  shoulders.  She  then 
turns  and  continues  down  main  aisle  to 
cross-aisle,  then  turns  and  walks  be- 
tween the  kneeling  nuns  up  cross-aisle 
to  open  door  of  convent-garden.    She 


stands  there  with  hack  to  audience. 
The  nuns  rise  and  walk  past  her  on 
either  side.  Peralta  lifts  both  hands 
in  benediction.  Paul  and  Barbara 
are  still  kneeling  in  aisle.  Finally  Na- 
toma passes  through  doorway  of  con- 
vent-garden. The  doors  close  upon 
her. ) 

Curtain. 


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Would  Cost  You 
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In  no  other  way  can  you  get 


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ing 17,000  selections. 

We  are  glad  at  all  times  to  be 
of  service  to  owners  of  our  in- 
struments. 


The  Largest 

Manufacturers 

of  Musical 

Initruments 

in  the  World 


THE  AEOLIAN  COMPANY 

AEOLIAN  HALL,  202  MICHIGAN  AVENUE 


The  Largest 

Manufacturers 

of  Musical 

Instruments 

in  the  World. 


UNIV.  OF  CALIF.  LIBRARY.  LOS  ANGELES 


ONLY  FIVE  PIANOS 

IN  THE  WORLD 

CONTAIN   THE   GENUINE    PIANOLA— 

STEINWAY  WEBER 

STECK 
WHEELOCK  STUYVESANT 

THESE  ARE  THE  ONLY  REAL  PIANOLA  PIANOS 

THEY  ARE  FOR  SALE  ONLY  AT 

AEOLIAN  HALL. 


A  Splendid  Pianola  Piano  may  be  had  for 


$550 


If  you  are  going  to  bu}-  a  Player  Piano  itwill 
certainly  be  better  to  get  the  genuine  PIANOLA 
I*JANO  of  which  all  other  Player  Pianos  are 
fiiore  or  less  imperfect  imitations.  And  when 
you  know  you  can  own  a  Pianola  Piano  for  $550, 

-there  really  does  not  seem  to  be  any    necessity 

'.forargument. 

The  Pianola  Piano  alone  contains 
The  Metrostyle  and  Themodist 

Without  which  Artistic  Results  are  Impossible. 


You  are  cordially  invited  to  a  demonstration  of  this  remarkable 
instrument  at  >  cnir  convenience. 


THE  AEOLIAN  COMPANY 

202  MICHIGAN  AVE.,  CHICAGO 


